1. DL manuals
  2. Kurzweil
  3. Electronic Keyboard
  4. ALGORITHMS1
  5. Reference Manual

Kurzweil ALGORITHMS1 Reference Manual

Manual is about: Algorithm Reference

Summary of ALGORITHMS1

  • Page 1

    A lgorithm reference ©1998 all rights reserved. Kurzweil is a product line of young chang co.; v. A. S. T. Is a registered trademark, and kurzweil, k2500, and kdfx are trademarks of young chang co. Hammond and leslie are trademarks of hammond suzuki usa. Srs is a trademark of srs labs, inc. All othe...

  • Page 2: Fxalg #1: Miniverb ¥

    Fxalg #1: miniverb ¥ fxalg #2: dual miniverb algorithm reference-2 fxalg #1: miniverb ¥ fxalg #2: dual miniverb versatile, small stereo and dual mono reverbs allocation units: 1 for miniverb, 2 for dual miniverb miniverb is a versatile stereo reverb which is found in many combination algorithms, but...

  • Page 3

    Fxalg #1: miniverb ¥ fxalg #2: dual miniverb algorithm reference-3 simplified block diagram of dual miniverb dual miniverb has a full miniverb, including wet/dry, pre delay and out gain controls, dedicated to each of the left and right channels. The two blocks in the diagram above labeled ÒminiverbÓ...

  • Page 4

    Fxalg #1: miniverb ¥ fxalg #2: dual miniverb algorithm reference-4 parameters (dual miniverb): page 1 page 2 page 3 wet/dry a simple mix of the reverb sound with the dry sound. Out gain the overall gain or amplitude at the output of the effect. Rvrb time the reverb time displayed is accurate for nor...

  • Page 5

    Fxalg #1: miniverb ¥ fxalg #2: dual miniverb algorithm reference-5 size scale a multiplier which changes the size of the current room. At 1.00x, the room will be the normal, carefully-tweaked size of the current room type. Altering this parameter will change the size of the room, and thus will cause...

  • Page 6: Fxalg #3:  Gated Miniverb

    Fxalg #3: gated miniverb algorithm reference-6 fxalg #3: gated miniverb a reverb and gate in series allocation units: 2 this algorithm is a small reverb followed by a gate. The main control for the reverb is the room type parameter. Room type changes the structure of the algorithm to simulate many c...

  • Page 7

    Fxalg #3: gated miniverb algorithm reference-7 parameters: page 1 page 2 page 3 wet/dry a simple mix of the reverb sound with the dry sound. When set fully dry (0%), the gate is still active. Out gain an overall level control of the effectÕs output (applied after the gate). Gate thres the input sign...

  • Page 8: Fxalgs #4-11:

    Fxalgs #4-11: classic ¥ tq ¥ diffuse ¥ omni reverbs algorithm reference-8 fxalgs #4-11: classic ¥ tq ¥ diffuse ¥ omni reverbs fxalg #4: classic place fxalg #5: classic verb fxalg #6: tq place fxalg #7: tq verb fxalg #8: diffuse place fxalg #9: diffuse verb fxalg #10: omniplace fxalg #11: omniverb mo...

  • Page 9

    Fxalgs #4-11: classic ¥ tq ¥ diffuse ¥ omni reverbs algorithm reference-9 some algorithms use injector mechanisms when feeding a signal into the ambience generator. An injector creates copies of the input signal at different delay intervals and feeds each copy into the ambience generator at differen...

  • Page 10

    Fxalgs #4-11: classic ¥ tq ¥ diffuse ¥ omni reverbs algorithm reference-10 classic verb and classic place: classic reverbs are 2-pau algorithms with early reflections. The late portion consists of an input diffuser; ambience generator with low shelving filters, lowpass filters, and lfo moving delays...

  • Page 11

    Fxalgs #4-11: classic ¥ tq ¥ diffuse ¥ omni reverbs algorithm reference-11 page 1 (classic verb) page 1 (classic place) page 2 (classic verb) page 2 (classic place) page 3 wet/dry -100 to 100% out gain off; -79.0 to 24.0 db rvrb time 0.00 to 60.00 s earref lvl -100 to 100% hf damping 0 to 25088 hz l...

  • Page 12

    Fxalgs #4-11: classic ¥ tq ¥ diffuse ¥ omni reverbs algorithm reference-12 tq verb and tq place: tq reverbs are 3-pau algorithms with early reflections. The late portion consists of an input diffuser, injector, ambience generator with a lowpass filter, low shelving filter, and lfo moving delays, and...

  • Page 13

    Fxalgs #4-11: classic ¥ tq ¥ diffuse ¥ omni reverbs algorithm reference-13 early reflection portion of tq verb and tq place page 1 (tq verb) page 1 (tq place) page 2 (tq verb) wet/dry -100 to 100% out gain off; -79.0 to 24.0 db rvrb time 0.00 to 60.00 s earref lvl -100 to 100% hf damping 0 to 25088 ...

  • Page 14

    Fxalgs #4-11: classic ¥ tq ¥ diffuse ¥ omni reverbs algorithm reference-14 page 2 (tq place) page 3 room type booth1, ... Trebshlf f 16 to 25088 hz size scale 0.00 to 2.50x trebshlf g -79.0 to 24.0 db diffamtscl 0.00 to 2.00 x difflenscl 0.00 to 2.50 x lf split 16 to 25088 hz lfo rate 0.01 to 10.00 ...

  • Page 15

    Fxalgs #4-11: classic ¥ tq ¥ diffuse ¥ omni reverbs algorithm reference-15 diffuse verb and diffuse place: diffuse reverbs are 3-pau algorithms and are characterized as such because of the initial burst of diffusion inherent in the onset of the reverb. Each of these algorithms consists of an input d...

  • Page 16

    Fxalgs #4-11: classic ¥ tq ¥ diffuse ¥ omni reverbs algorithm reference-16 page 1 (diffuse verb) page 1 (diffuse place) page 2 (diffuse verb) page 2 (diffuse place) wet/dry -100 to 100% out gain off; -79.0 to 24.0 db latervbtim 0.00 to 60.00 s hf damping 0 to 25088 hz lopass 16 to 25088 hz l pre dly...

  • Page 17

    Fxalgs #4-11: classic ¥ tq ¥ diffuse ¥ omni reverbs algorithm reference-17 omniverb and omniplace: omni reverbs are 3-pau algorithms that consist of an input diffuser; injector; ambience generator with a lowpass filter, low shelving filter, and lfo moving delays; and predelay. The expanse parameter ...

  • Page 18

    Fxalgs #4-11: classic ¥ tq ¥ diffuse ¥ omni reverbs algorithm reference-18 page 2 (omniverb) page 2 (omniplace) page 3 absorption this controls the amount of reßective material that is in the space being emulated, much like an acoustical absorption coefÞcient. The lower the setting, the longer it wi...

  • Page 19

    Fxalgs #4-11: classic ¥ tq ¥ diffuse ¥ omni reverbs algorithm reference-19 room type this parameter selects the basic type of reverb being emulated, and should be the starting point when creating your own reverb presets. Due to the inherent complexity of reverb algorithms and the sheer number of var...

  • Page 20

    Fxalgs #4-11: classic ¥ tq ¥ diffuse ¥ omni reverbs algorithm reference-20 lfo depth adjusts the detuning depth in cents caused by a moving reverb delay line. Moving delay lines can imitate voluminous ßowing air currents and reduce unwanted artifacts like ringing and ßutter when used properly. Depth...

  • Page 21: Fxalg #12: Panaural Room

    Fxalg #12: panaural room algorithm reference-21 fxalg #12: panaural room room reverberation algorithm allocation units: 3 the panaural room reverberation is implemented using a special network arrangement of many delay lines that guarantees colorless sound. The reverberator is inherently stereo with...

  • Page 22

    Fxalg #12: panaural room algorithm reference-22 parameters: page 1 page 2 wet/dry the amount of the stereo reverberator (wet) signal relative to the original input (dry) signal to be output. The dry signal is not affected by the bass gain control. The wet signal is affected by the bass gain control ...

  • Page 23

    Fxalg #12: panaural room algorithm reference-23 build env when build time has been set to greater than about 80ms, build env begins to have an audible inßuence on the early unfolding of the reverberation process. For lower-density reverberation that starts cleanly and impulsively, use a setting of 0...

  • Page 24: Fxalg #13: Stereo Hall

    Fxalg #13: stereo hall algorithm reference-24 fxalg #13: stereo hall a stereo hall reverberation algorithm allocation units: 3 the stereo hall reverberation is implemented using a special arrangement of all pass networks and delay lines, which reduces coloration and increases density. The reverberat...

  • Page 25

    Fxalg #13: stereo hall algorithm reference-25 to gain control over the growth of reverberation, the left and right inputs each are passed through an ÒinjectorÓ that can extend the source before it drives the reverberator. Only when build env is set to 0% is the reverberator driven in pure stereo by ...

  • Page 26

    Fxalg #13: stereo hall algorithm reference-26 lowpass used to shape the overall reverberation signal's treble content, but does not modify the decay time. Reduce the treble for a softer, more acoustic sound. Pre dly introducing predelay creates a gap of silence that allows the dry signal to stand ou...

  • Page 27: Fxalg #14: Grand Plate

    Fxalg #14: grand plate algorithm reference-27 fxalg #14: grand plate a plate reverberation algorithm allocation units: 3 this algorithm emulates an emt 140 steel plate reverberator. Plate reverberators were manufactured during the 1950s, 60s, 70s, and perhaps into the 80s. By the end of the 1980s, t...

  • Page 28

    Fxalg #14: grand plate algorithm reference-28 the algorithm developed for grand plate was carefully crafted for rapid diffusion, low coloration, freedom from discrete early reflections, and ÒbrightnessÓ. We also added some controls that were never present in real plates: size, predelay of up to 500m...

  • Page 29

    Fxalg #14: grand plate algorithm reference-29 decay time the reverberation decay time (mid-band Òrt 60 Ó), the time required before the reverberation has died away to 60db below its ÒrunningÓ level. Adjust decay time according to the tempo and articulation of the music. To emulate a plate reverb, th...

  • Page 30: Fxalg #15: Finite Verb

    Fxalg #15: finite verb algorithm reference-30 fxalg #15: finite verb ÒenvelopedÓ reverberation algorithm allocation units: 3 in this algorithm, the left and right sources are summed before being fed into a tapped delay line, which directly simulates the impulse response of a reverberator. The taps a...

  • Page 31

    Fxalg #15: finite verb algorithm reference-31 the rvb env control selects 27 cases of envelope gains for the taps. Nine cases emulate a normal forward-evolving reverb, but with some special twists. Cases fwd r1xx have a single reverb peak, with a fast attack and slower decay. The sub cases fwd r1sx ...

  • Page 32

    Fxalg #15: finite verb algorithm reference-32 rvb env the rvb env control selects 27 cases of envelope gains for the taps. Nine cases emulate a normal forward evolving reverb, another nine emulate a reverb building symmetrically to a peak at the mid point, while the last nine cases emulate a reverse...

  • Page 33: Fxalg #130: Complex Echo

    Fxalg #130: complex echo algorithm reference-33 fxalg #130: complex echo multitap delay line effect, consisting of 6 independent output taps and 4 independent feedback taps allocation units: 1 complex echo is an elaborate delay line with three independent output taps per channel, two independent fee...

  • Page 34

    Fxalg #130: complex echo algorithm reference-34 parameters: page 1 page 2 page 3 page 4 wet/dry the relative amount of input signal and effected signal that is to appear in the Þnal effect output mix. When set to 0%, the output is taken only from the input (dry). When set to 100%, the output is all ...

  • Page 35

    Fxalg #130: complex echo algorithm reference-35 r fdbk2 dly adjusts the delay length of the right channelÕs feedback tap, fed back to the left channelÕs delay input. L tapn dly, r tapn dly adjusts the delay length of the left and right channelÕs three output taps. L tapn lvl, l tapn lvl adjusts the ...

  • Page 36: Fxalg #131: 4-Tap Delay ¥

    Fxalg #131: 4-tap delay ¥ fxalg #132: 4-tap delay bpm algorithm reference-36 fxalg #131: 4-tap delay ¥ fxalg #132: 4-tap delay bpm a stereo four-tap delay with feedback allocation units: 1 this is a simple stereo 4-tap delay algorithm with delay lengths defined either in milliseconds (ms) (#131), or...

  • Page 37

    Fxalg #131: 4-tap delay ¥ fxalg #132: 4-tap delay bpm algorithm reference-37 the delay lengths for 4-tap delay are in units of milliseconds (ms). If you want to base delay lengths on tempo, then the 4-tap delay bpm algorithm may be more convenient. The feedback (fdbk level) controls how long a sound...

  • Page 38: Fxalg #132: 4-Tap Delay Bpm

    Fxalg #131: 4-tap delay ¥ fxalg #132: 4-tap delay bpm algorithm reference-38 dry bal the left-right balance of the dry signal. A setting of -100% allows only the left dry signal to pass to the left output, while a setting of 100% lets only the right dry signal pass to the right output. At 0%, equal ...

  • Page 39

    Fxalg #131: 4-tap delay ¥ fxalg #132: 4-tap delay bpm algorithm reference-39 parameters: page 1 page 2 page 3 tempo basis for the delay lengths, as referenced to a musical tempo in bpm (beats per minute). When this parameter is set to ÒsystemÓ, the tempo is locked to the internal sequencer tempo or ...

  • Page 40: Fxalg #133: 8-Tap Delay ¥

    Fxalg #133: 8-tap delay ¥ fxalg #134: 8-tap delay bpm algorithm reference-40 fxalg #133: 8-tap delay ¥ fxalg #134: 8-tap delay bpm a stereo eight-tap delay with cross-coupled feedback allocation units: 2 this is a simple stereo 8-tap delay algorithm with delay lengths defined in milliseconds (ms) (#...

  • Page 41

    Fxalg #133: 8-tap delay ¥ fxalg #134: 8-tap delay bpm algorithm reference-41 the hold parameter is a switch which controls signal routing. When turned on, hold will play whatever signal is in the delay line indefinitely. Hold overrides the feedback parameter and prevents any incoming signal from ent...

  • Page 42: Fxalg #134: 8-Tap Delay Bpm

    Fxalg #133: 8-tap delay ¥ fxalg #134: 8-tap delay bpm algorithm reference-42 xcouple 8-tap delay is a stereo effect. The cross-coupling control lets you send the feedback from a channel to its own input (0% cross-coupling) or to the other channelÕs input (100% cross-coupling) or somewhere in between...

  • Page 43

    Fxalg #133: 8-tap delay ¥ fxalg #134: 8-tap delay bpm algorithm reference-43 a repetitive loop delay is created by turning up the feedback parameter (fdbk level). Only the loop tap is fed back to the input of the delay, so this is the tap which controls the loop rate. Usually you will want the loop ...

  • Page 44: Fxalg #136: Spectral 6-Tap

    Fxalg #135: spectral 4-tap ¥ fxalg #136: spectral 6-tap algorithm reference-44 fxalg #135: spectral 4-tap ¥ fxalg #136: spectral 6-tap tempo based 4- and 6-tap delays with added shapers and resonant comb filters on each tap allocation units: 2 for spectral 4-tap; 3 for spectral 6-tap spectral 4 tap ...

  • Page 45

    Fxalg #135: spectral 4-tap ¥ fxalg #136: spectral 6-tap algorithm reference-45 diffusers add a quality that can be described as ÒsmearingÓ the feedback signal. The more a signal has been regenerated through feedback and consequently fed through the diffuser, the more it is smeared. It requires two p...

  • Page 46

    Fxalg #135: spectral 4-tap ¥ fxalg #136: spectral 6-tap algorithm reference-46 each tap also has separate balance and level controls. Since these are tempo based effects, tap delay values and feedback delay (labeled looplength on param2) values are set relative to a beat. The beat duration is set be...

  • Page 47

    Fxalg #135: spectral 4-tap ¥ fxalg #136: spectral 6-tap algorithm reference-47 page 2 page 3 page 4 wet/dry the relative amount of input signal and effected signal that is to appear in the Þnal effect output mix. When set to 0%, the output is taken only from the input (dry). When set to 100%, the ou...

  • Page 48

    Fxalg #135: spectral 4-tap ¥ fxalg #136: spectral 6-tap algorithm reference-48 fdbk image sets the amount the stereo image is shifted each time it passes through the feedback line. Tap n delay adjusts the length of time, in 1/24ths of a beat, each output tap is delayed. Tap n shapr adjusts the inten...

  • Page 49: Fxalgs #150Ð153: Choruses

    Fxalgs #150Ð153: choruses algorithm reference-49 fxalgs #150Ð153: choruses fxalg #150: chorus 1 fxalg #151: chorus 2 fxalg #152: dual chorus 1 fxalg #153: dual chorus 2 one- and three-tap stereo and dual-mono choruses allocation units: 1 for chorus 1 and dual chorus 1; 2 for chorus 2 and dual chorus...

  • Page 50

    Fxalgs #150Ð153: choruses algorithm reference-50 the dual mono choruses are like the stereo choruses but have separate left and right controls. Dual mono choruses also allow you to pan the delay taps between left or right outputs. Block diagram of left channel of dual chorus 2. Right channel is simi...

  • Page 51

    Fxalgs #150Ð153: choruses algorithm reference-51 block diagram of left channel of dual chorus 1. Right channel is similar. The left and right channels pass through their own chorus blocks. There may be cross-coupling between the channels. For chorus 2 and dual chorus 2, each channel has three moving...

  • Page 52

    Fxalgs #150Ð153: choruses algorithm reference-52 the settings of the lfo rates and the lfo depths determine how far the lfos will sweep across their delay lines from the shortest delays to the longest delays (the lfo excursions). The tap delays specify the average amount of delay of the lfo-modulate...

  • Page 53

    Fxalgs #150Ð153: choruses algorithm reference-53 page 2 page 3 parameters (dual chorus1): page 1 page 2 page 3 tap1 lvl -100 to 100% tap1 dly 4.0 to 1000.0 ms tap2 lvl -100 to 100% tap2 dly 4.0 to 1000.0 ms tap3 lvl -100 to 100% tap3 dly 4.0 to 1000.0 ms lfo1 rate 0.01 to 10.00 hz lfo1 lrphs 0.0 to ...

  • Page 54

    Fxalgs #150Ð153: choruses algorithm reference-54 parameters (dual chorus 2): page 1 page 2 page 3 page 4 wet/dry the relative amount of input (dry) signal and chorus (wet) signal that appears in the Þnal effect output mix. When set to 0%, the output is taken only from the input. When set to 100%, th...

  • Page 55

    Fxalgs #150Ð153: choruses algorithm reference-55 tap lvl levels of the lfo-modulated delay taps. Negative values polarity-invert the signal. Setting any tap level to 0% effectively turns off the delay tap. Since these controls allow the full input level to pass through all the delay taps, a 100% set...

  • Page 56: Fxalg #154: Flanger 1 ¥

    Fxalg #154: flanger 1 ¥ fxalg #155: flanger 2 algorithm reference-56 fxalg #154: flanger 1 ¥ fxalg #155: flanger 2 multi-tap flangers allocation units: 1 for flanger 1; 2 for flanger 2 flanger 1 is a 1-pau multi-sweep thru-zero flanger effect with two lfos per channel. Simplified block diagram of th...

  • Page 57

    Fxalg #154: flanger 1 ¥ fxalg #155: flanger 2 algorithm reference-57 flanging was originally created by summing the outputs of two un-locked tape machines while varying their sync by pressing a hand on the outside edge of one reelÑthus the name Òreel-flangingÓ. The key to achieving the flanging effe...

  • Page 58

    Fxalg #154: flanger 1 ¥ fxalg #155: flanger 2 algorithm reference-58 you can set how far each lfo can sweep through the delay line with the excursion controls (xcurs). The excursion is the maximum distance an lfo will move from the center of its sweep. The total range of an lfo is twice the excursio...

  • Page 59

    Fxalg #154: flanger 1 ¥ fxalg #155: flanger 2 algorithm reference-59 sound. It should be obvious that sounds with a richer harmonic structure will be effected in a much more dramatic way than harmonically starved sounds. Having more notches, i.E. A greater Ônotch-densityÕ, should produce an even mor...

  • Page 60

    Fxalg #154: flanger 1 ¥ fxalg #155: flanger 2 algorithm reference-60 page 2 page 3 page 4 wet/dry the relative amount of input signal and ßanger signal that is to appear in the Þnal effect output mix. When set to 0%, the output is taken only from the input (dry). When set to 100%, the output is all ...

  • Page 61

    Fxalg #154: flanger 1 ¥ fxalg #155: flanger 2 algorithm reference-61 noise gain the amount of noise (db relative to full scale) to add to the input signal. In many ßangers, you can hear the noise ßoor of the signal being ßanged, but in the k2500, if there is no input signal, there is no noise ßoor u...

  • Page 62: Fx Algs #156-160: Phasers

    Fx algs #156-160: phasers algorithm reference-62 fx algs #156-160: phasers fxalg #156: lfo phaser fxalg #157: lfo phaser twin fxalg #158: manual phaser fxalg #159: vibrato phaser fxalg #160: singlelfo phaser a variety of single notch/bandpass phasers allocation units: 1 (each) a simple phaser is an ...

  • Page 63

    Fx algs #156-160: phasers algorithm reference-63 response of typical phaser: (i) wet/dry = 50% and (ii) wet/dry = -50%. Some of the phaser algorithms have feedback. When feedback is used, it can greatly exaggerate the peaks and notches, producing a much more resonant sound. Lfo phaser is a simple ph...

  • Page 64

    Fx algs #156-160: phasers algorithm reference-64 response of lfo phaser twin with wet/dry set to 100%. In the vibrato phaser algorithm, the bandwidth of the phaser filter can be adjusted exactly like a parametric eq filter. The in width controls how the stereo input signal is routed through the effe...

  • Page 65

    Fx algs #156-160: phasers algorithm reference-65 parameters (singlelfo phaser): page 1 page 2 wet/dry the amount of phaser (wet) signal relative to unaffected (dry) signal as a percent. Out gain the output gain in decibels (db) to be applied to the combined wet and dry signals. Fdbk level the phaser...

  • Page 66

    Fx algs #156-160: phasers algorithm reference-66 parameters (manual phaser): page 1 notch/bp the amount of notch depth or bandpass. At -100% there is a complete notch at the center frequency. At 100% the Þlter response is a peak at the center frequency. 0% is the dry unaffected signal. Out gain the ...

  • Page 67

    Fx algs #156-160: phasers algorithm reference-67 parameters (vibrato phaser): page 1 page 2 wet/dry the amount of phaser (wet) signal relative to unaffected (dry) signal as a percent. When set to 50% you get a complete notch. When set to -50%, the response is a bandpass Þlter. 100% is a pure allpass...

  • Page 68: Fxalg #700 Ñ Chorus+Delay

    Combination algorithms [Ò+Ó] algorithm reference-68 combination algorithms [Ò+Ó] fxalg #700 Ñ chorus+delay fxalg #701 Ñ chorus+4tap fxalg #703 Ñ chor+dly+reverb fxalg #706 Ñ flange+delay fxalg #707 Ñ flange+4tap fxalg #709 Ñ flan+dly+reverb fxalg #722 Ñ pitcher+chor+dly fxalg #723 Ñ pitcher+flan+dly...

  • Page 69: Signal Routing (3 Effects)

    Combination algorithms [Ò+Ó] algorithm reference-69 mix effect adjusts the amount of each effect that is mixed together as the algorithm wet signal. Negative values polarity-invert that particular signal. A/dry->b this parameter controls how much of the a effect is mixed with dry and fed into the b ...

  • Page 70: Individual Effect Components

    Combination algorithms [Ò+Ó] algorithm reference-70 three-effect routing: l mix effect, r mix effect adjusts the amount of each effect that is mixed together as the algorithm wet signal. Separate left and right controls are provided. Negative values polarity-invert that particular signal. A /dry>b t...

  • Page 71

    Combination algorithms [Ò+Ó] algorithm reference-71 flange: the flangers are basic 1-tap dual flangers. Separate lfo controls are provided for each channel. Slight variations between algorithms exist. Some algorithms offer separate left and right feedback controls, while some offer only one for both...

  • Page 72

    Combination algorithms [Ò+Ó] algorithm reference-72 dly time l, dly time r the delay lengths of each channel in beats. The duration of a beat is speciÞed with the tempo parameter. The delay length in seconds is calculated as beats/tempo * 60 (sec/min). Dly fdbk l, dly fdbk r the amount of the output...

  • Page 73

    Combination algorithms [Ò+Ó] algorithm reference-73 reverb: the reverbs offered in these combination effects is miniverb. See fxalg #1 in this book for information about the parameters. Parameters associated with this reverb begin with ÒrvÓ. Pitcher: the pitchers offered in these effects are the sam...

  • Page 74: Fxalg #702 Ñ Chorus4Tap

    Configurable combination algorithms [ÒÓ] algorithm reference-74 conÞgurable combination algorithms [ÒÓ] fxalg #702 Ñ chorus4tap fxalg #704 Ñ chorusreverb fxalg #705 Ñ choruslasrdly fxalg #708 Ñ flange4tap fxalg #710 Ñ flangereverb fxalg #711 Ñ flangelasrdly fxalg #712 Ñ flangepitcher fxalg #713 Ñ fl...

  • Page 75

    Configurable combination algorithms [ÒÓ] algorithm reference-75 algorithm 702, chor4tap, when a->b cfg is set to (top) Òch->4tÓ and (bottom) Ò4t->chÓ. Bi-directional routing: mix effect adjusts the amount of each effect that is mixed together as the algorithm wet signal. Negative values polarity-inv...

  • Page 76: Individual Effect Components

    Configurable combination algorithms [ÒÓ] algorithm reference-76 individual effect components configurable chorus and flange: the configurable chorus and flange have 2 moving delay taps per channel. Parameters associated with chorus control begin with ÒchÓ in the parameter name, and those associated ...

  • Page 77

    Configurable combination algorithms [ÒÓ] algorithm reference-77 fig. 3 Ñ lfo control in link1tap mode fig. 4 Ñ lfo control in link2tap mode in addition to the lfo delay taps, the flange offers a static delay tap for creating through-zero flange effects. The maximum delay time for this tap is 230ms a...

  • Page 78

    Configurable combination algorithms [ÒÓ] algorithm reference-78 flange (page 2): ch lfo cfg sets the user interface mode for controlling each of the 4 chorus lfos. Ch lrphase controls the relative phase between left channel lfos and right channel lfos. In dual1tap mode, however, this parameter is ac...

  • Page 79

    Configurable combination algorithms [ÒÓ] algorithm reference-79 inverting the signal. The lsrcntour parameter adds only the laser delay portion of the effect, including itÕs own regeneration. For the most intense laser-ness, keep dly fdbk at 0% while lsrcntour is enabled. Dly fbimag, dly xcouple, dl...

  • Page 80

    Configurable combination algorithms [ÒÓ] algorithm reference-80 channels through each feedback generation when dly fdbk is used. A setting of 0% has no affect. 50% causes equal amounts of signal to be present in both channels causing the image to collapse into a center point source. A setting of 100...

  • Page 81

    Configurable combination algorithms [ÒÓ] algorithm reference-81 reverb: the reverbs offered in these combination effects is miniverb. Information about it can be found in the miniverb documentation (fxalg#1 in this book). Parameters associated with this reverb begin with ÒrvÓ. Pitcher: the pitchers ...

  • Page 82: Fxalg #714: Quantize+Flange

    Fxalg #714: quantize+flange algorithm reference-82 fxalg #714: quantize+flange digital quantization followed by flanger. Allocation units: 1 digital audio engineers will go to great lengths to remove, or at least hide the effects of digital quantization distortion. In quantize+flange we do quite the...

  • Page 83

    Fxalg #714: quantize+flange algorithm reference-83 clearly a one-bit word gives a very crude approximation to the original signal while four bits is beginning to do a good job of reproducing the original decaying sine wave. When a good strong signal is being quantized (its word length is being short...

  • Page 84

    Fxalg #714: quantize+flange algorithm reference-84 page 2 page 3 in/out when set to ÒinÓ, the quantizer and ßanger are active; when set to ÒoutÓ, the quantizer and ßanger are bypassed. Out gain the overall gain or amplitude at the output of the effect. Quant w/d the relative amount of quantized (wet...

  • Page 85

    Fxalg #714: quantize+flange algorithm reference-85 fl l/r phase the phase angles of the left and right lfos relative to each other and to the system tempo clock, if turned on (see fl tempo). In all other respects the right and left channels are symmetric. For example, if one lfo is set to 0 ° and an...

  • Page 86: Fxalg #716: Quad Movdelay

    Fxalg #715: dual movdelay ¥ fxalg #716: quad movdelay algorithm reference-86 fxalg #715: dual movdelay ¥ fxalg #716: quad movdelay generic dual-mono moving delay lines allocation units: dual movdelay 1; quad movdelay 2 each of these two algorithms offers generic monaural moving delay lines in a dual...

  • Page 87

    Fxalg #715: dual movdelay ¥ fxalg #716: quad movdelay algorithm reference-87 in quad movdelay, there are 2 moving delay elements per channel distinguishable by parameters beginning with Òl1Ó, Òl2Ó, Òr1Ó, and Òr2Ó. The second moving delay on each channel is fed with a mix of the first delays and the ...

  • Page 88

    Fxalg #715: dual movdelay ¥ fxalg #716: quad movdelay algorithm reference-88 page 2 parameters (quad movdelay): page 1 page 2 page 3 page 4 l wet/dry, r wet/dry the relative amount of input signal and effected signal that is to appear in the Þnal effect output mix for each input channel. When set to...

  • Page 89

    Fxalg #715: dual movdelay ¥ fxalg #716: quad movdelay algorithm reference-89 ln mix, rn mix adjusts the mix levels for each moving delay circuit. The resulting sum makes up the wet signal. Negative values polarity-invert the signal. L pan, r pan, ln pan, rn pan the output panning position of each mo...

  • Page 90

    Fxalg #720: monopitcher+chor ¥ fxalg #721: monopitcher+flan algorithm reference-90 fxalg #720: monopitcher+chor ¥ fxalg #721: monopitcher+flan mono pitcher (filter with harmonically related resonant peaks) algorithm with a chorus or flanger allocation units: 2 (each) the mono pitcher algorithm appli...

  • Page 91

    Fxalg #720: monopitcher+chor ¥ fxalg #721: monopitcher+flan algorithm reference-91 note that a pt pksplit of 100% gives only odd multiples of a fundamental that is one octave down from no splitting. The presence of only odd multiples will produce a hollow sort of sound, like a square wave (which als...

  • Page 92

    Fxalg #720: monopitcher+chor ¥ fxalg #721: monopitcher+flan algorithm reference-92 chorus: the chorus used in fxalg #720 is a basic dual-channel chorus. Refer to chorus documentation (fxalgs #150-153) in this book for more information on the effect. Configurable flange: the flange in fxalg #721 is a...

  • Page 93

    Fxalg #720: monopitcher+chor ¥ fxalg #721: monopitcher+flan algorithm reference-93 wet/dry this is a simple mix of the pitched and chorused or ßanged signal relative to the dry input signal. Out gain the overall gain or amplitude at the output of the effect. Mix pitchr the amount of the pitcher sign...